Page 103 - Jazz

TEODORA ENACHE film in which you are the main character and have attained the
apogee of fulfilment, the fulfilment of emotions and the ideal of
the avid spectator who follows your actions in the final minutes
of the screenplay, the character who gives up everything in that
same moment of greatest fulfilment to go away, hunted, driven,
hypnotised by the inertia of the search.
Believe Beleft Below, the absolute waltz of a moment in
which you are only with yourself, you are alone in the room, it
is night, a half-shaded lamp in one corner bathes the room in a
yellowish light, you are sitting in an armchair, you close your
eyes and listen, and you have the sensation that you would
like this moment experienced with an overwhelming feeling
of blessedness never to end. And you would almost whisper,
if you could do so to someone who had the power to make it
happen, you would whisper a timorous wish that perhaps, when
you opened your eyes, it would be possible for the moment to
slide away, distancing itself down the ski slope of time, towards
a new promise more illusory than all those up to now and at
the same time more insistent in its call towards the unknown
and more seductive. Waltz for the Lonely Ones (from the album
When Everyone Has Gone). Sublime. And although the music
carries on its way and flows, you want those few minutes to be
repeated again and again, in a kind of time loop, a concentrated,
inconsumable space.
And you realise that it is a Tuesday and that exactly now,
by some marvellous coincidence, it is precisely Tuesday and
you are in Wonderland. Moscow.30.05.2008. The last concert. In
his sailor’s jersey Esbjörn Svensson introduces Dan Berglund
and Magnus Öström. Farewell within the spirit. There we can
be together and we are together. And we will no longer have a
reason to open our eyes at this moment, because our eyes are open
already, inside, towards Wonderland. And as soon as we have
been able to see it, it will belong to us. Just as we will belong to it
in the end, for ever.

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